Throughout history human race searches for the meanings of life, just like the famous French writer Marcel Proust says, “We don’t receive wisdom; we must discover it for ourselves after a journey that no one can take for us or spare us.” Writers across the world reveal their journey of discovering through their works and lives. Early French dramatist Moliere fights against the corruption of the church through his comedy play Tartuffe; Percy Shelley reflects his thoughts on nature and spiritual understanding through his poems. Also Shelley’s life struggles as he searches for himself. Emily Dickenson’s poems express her philosophy of love, nature and death. F. Scott Fitzgerald‘s convey his idea of the meaning of life of Jazz age through his novel …show more content…
At the same time, he adopted the stage name Moliere. His passion for work was ignited by his grandfather, for he had strong faith in him, and he once said, “May it please to Heaven that he become (sic) as good a comedian as Bellerose!” With several other young and ambitious actors, they made their debut in Paris with a stage that was reconstructed from a tennis court. They gained some fame, but eventually because of lack of experience, they went bankruptcy. After failure in the Illustrious Theater, Moliere did not give up his dream, rather he preserved. He exiled himself out of Paris and started his road trip to different provinces in France. He needed time to readjust himself after facing the first hard blow of failure. For the next twelve years, Moliere polished his skills both as a playwright and an actor. “He created French comedy from the dust of Menander and Plautus, breathing into it the spirit of Italian mummery”; Moliere reached his climax of success in theater in 1644. Even though Moliere did not inherit his father’s family business, childhood experience in the shop provided the best materials of life for his plays, and “in his plays one my read the story of his life: Mascarille, the light-hearted bohemian; Sganarelle, the jealous man of forty seeking domestic happiness in vain […] Alceste, the generous misanthrope who, in spite of his philosophy of life and knowledge of the world’s imposture, loves a heartless coquette.” Moliere found inspiration in his life; “undergoing the discouragement, indifference, toleration, praise, and envy” was the journey of Moliere’ life, and he continued to express knowledge of the world in his literature
Moliere’s Tartuffe assumed set of social conventions were shaped by all the characters within the play, however the authoritative figure was established depicted by the father, Oregon. Oregon’s character assumed the role of king or lord of his household. He believed that as the head of household, he had the right to rule over his kingdom as he saw fit. His kingdom had to run smoothly in order for it to be effective. No matter how harsh, unfair and painful it was for his, wife daughter or servants.
It is in the duality of Orgon, the believing subject, and Tartuffe, the manipulating hypocrite (or impostor), that Moliere takes his digs at the extremes of enthusiastic belief. Tartuffe plays the role of a man whose greedy actions are cloaked by a mask of overwhelming piety, modesty and religious fervor. Orgon is the head of a household who has taken Tartuffe in. We laugh at Orgon because everyone else (except his mother) knows that Tartuffe is a fake. All of Orgon's relatives warn him of Tartuffe's gluttony and of the false nature of his pious proclamations.
The novel is set in the Roaring Twenties, or the “Jazz Age,” which was actually a term coined by F. Scott Fitzgerald himself! He called it the Jazz Age due to the fact that Jazz music was quickly on the rise in their culture. Along with Jazz came some effects that some considered to be “mischievo...
In Moliére’s Tartuffe (Moiré 1664), the reader is able to see a great contrast of Extreme and Moderate characters. Extreme characters being those who are seen as over the top, or very passionate people, and the moderate characters having a more calm and subtle approach to ideas. The extreme characters in this case would be Madam Pernelle, Orgon, Tartuffe, and Dorine. The moderate characters are seen as Cleante and Elmire.
The play "Tartuffe", by Moliere, is a work that was created to show people a flaw in their human nature. There are two characters who portray the main flaw presented in the play. Both Madame Pernelle and Orgon are blinded to the farces of Tartuffe and must be coaxed into believing the truth. The fact that Orgon and Madame Pernelle are too weak to see the truth is an important theme of the play.
In the play Tartuffe which was written and performed by Moliere in 1664, the imposter Tartuffe insinuates himself into the family of the nobleman Orgon. Throughout the play, different members of the family try to reveal Tartuffe’s true colors to Orgon which results in a series of complex events. Through the use of Tartuffe's character, Moliere is able to express the ideologies of both anti-religion and religious hypocrisy. While these two ideas are similar there are some noteworthy differences which are important when discussing the attributes of different characters that are in the play. Moliere’s interpretation of anti-religion can be seen as opposition to any religion or specifically disregarding the moralities associated with any one religion
In Tartuffe, Moliere creates a play that is interesting in so many ways. His comedy reflects a lot on the role of men and women within a family. During this time, it was common for the man to be the head of the household and women to be submissive to the men. Men held the power in the family and made all the decisions. In this play, a man's point of view is the only view that matters. All else do not serve an importance. His lack of trust and awareness for other people's feelings and needs has caused great conflict in his family. The actions taken by Orgon and his family members express how this play views marriage and relations between men and women. It is a extremely different view (in some cases) of marriage today in average American family.
Reading is an experience of art; without readers’ interaction, the meaning of any literary work is insufficient. “[Norman] Holland believes that we react to literary texts with the same psychological responses we bring to our daily life....That is, in various ways we unconsciously recreate in the text the world that exists in our mind.” (Tyson, 182) By telling a story that centers on the conflicts between two wealth young females whose personalities are distinctly different in the jazz age, Fitzgerald leads us on a journey of physical, and especially psychological transition of the protagonists through an omniscient narration. For female individuals, a tale emphasis on the youth,
F. Scott Fitzgerald said, “I am not a great man, but sometimes I think the impersonal and objective quality of my talent, and the sacrifices of it, in pieces, to preserve its essential value has some sort of epic grandeur” (“F. Scott Fitzgerald” St. James). Fitzgerald had heavy drinking problems and faced many financial failures throughout his life of writing but has proved to be gifted in many ways of writing. Francis Scott Key Fitzgerald was a short story writer, an essayist, and a novelist that was most famous during the Jazz Age of the 1920s and the Great Depression of the 1930s.
In his book Gargantua and Pantagruel, Francois Rabelais uses satire to address the dislocation felt by Renaissance Humanists. By providing an exaggerated fable, comical in nature, Rabelais poses a serious introspection into the extremes of both the Medieval and the Renaissance man. More importantly, however, he brings into question his own ideals of Humanism. Through an analysis of Rabelais’ satirical technique and by examining his social parody of the Medieval and the Renaissance man, we are able to better understand Rabelais’ introspection into the ideals of his own generation and to accept his argument that learning is transitory and often a necessary, yet futile, attempt to understand our world.
It is evident from such a diversity of sentiments that the work before us is complex enough to provoke a variety of reactions. On the one hand, Molière made The Misanthrope a comedy, not a tragedy. Alceste, despite his bold railings against the hypocrisy of society, often finds it impossible to set a heroic example in front of his all-too-"civilized" circle. He is no lone upholder of a noble creed forced to martyrdom for his beliefs; in fact, his announcement, at the end of the play, of the martyrdom he is imposing upon himself--exile to "some solitary place on earth/Where one is free to be a man of worth"{6}--makes him look less heroic than ridiculous.
Moliere rocked the 17th century French world with his comedy "Tartuffe" in 1664. Although, religious factions kept the play banned from theatres from 1664-1669, "Tartuffe" emerged from the controversy as one of the all-time great comedies. Tartuffe is a convincing religious hypocrite. He is a parasite who is sucking Orgon, the rich trusting father, for all he is worth. Orgon does not realize that Tartuffe is a phony, and caters to his every whim. For instance, he reneges on his promise to let his daughter Mariane, marry Valere. Instead he demands that she wed Tartuffe, whom she despises. He also banishes his own son, Damis, from his house for speaking out against Tartuffe and all of his son's inheritance is promised to Tartuffe.
...at characters create for themselves and the means by which they solve them serve as a way for Fitzgerald to exemplify the decade’s signature qualities while simultaneously criticizing them. Although it was a time of improvements in the way of life for all Americans, along with that came a certain moral decadence. In a new sense of comfort and thoughtlessness, a contempt for law and order, and a desire for wealth, the Jazz Age marked a crucial turning point in America, captured precisely by Fitzgerald.
While Molière satirically criticized and warned against certain aspects of absolutism, divine right, and the patriarchal family, it was also evident that he supported them and did not believe in alternative ways that matters should be handled. He simply recognizes that in order for the kingdom to be conducted under these policies, rulers (both the King and heads of the household) had to be careful and wise in their decision-making to avoid corruption. Molière definitely makes some good points, and even though it was banned for a period of time, Tartuffe remains one of his most famous works.
Norman of the University of Chicago Press and Gerturd Mander of the Ungar Press weighed in on the sendup of humor of Moliere’s play. Norman follows Moliere’s Tartuffe into a more religious aspect. Generally, Moliere appears to lecture a sort of individual Christianity that shuns outward shows of devotion intended to awe others and gain riches or influence. The Roman Catholic pastors of Moliere's day may have thought the writer was a nonbeliever, or if nothing else a careless Catholic.